Spaceship Earth is the iconic and symbolic structure of Epcot, the second of four theme parks built at the Walt Disney World Resort. One of the most recognizable structures of any theme park, it is also the name of the attraction that is housed within the 18-story geodesic sphere that takes guests on a time machine-themed experience using the Omnimover system. The 15-minute dark ride demonstrates to guests how advancements in human communication have helped to create the future one step at a time. Passengers journey back in time to witness the origins of prehistoric man, then travel forward in time to witness important breakthroughs in communication throughout history—from the invention of the alphabet to the creation of the printing press to today's modern communication advancements, including telecommunication and mass communication. At the conclusion of the ride, passengers have the chance to design their own future using touch screens that are embedded into the ride cars.

Geometrically, Spaceship Earth is a derivative of a pentakis dodecahedron, with each of the 60 isosceles triangle faces divided into 16 smaller triangles (with a bit of fudging to make it rounder).[citation needed] Each of those 960 flat panels is sub-divided into four triangles, each of which is divided into three isosceles triangles to form each point. In theory, there are 11,520 total isosceles triangles forming 3840 points. In reality, some of those triangles are partially or fully nonexistent due to supports and doors; there are actually only 11,324 silvered facets, with 954 partial or full flat triangular panels.[2]

The appearance of being a monolithic sphere is an architectural goal that was achieved through a structural trick. Spaceship Earth is in fact two structural domes. Six legs are supported on pile groups that are driven up to 160 feet into Central Florida's soft earth. Those legs support a steel box-shaped ring at the sphere's perimeter, at about 30 degrees south latitude in earth-terms.[3] The upper structural dome sits on this ring. A grid of trusses inside the ring supports two helical structures of the ride and show system. Below the ring, a second dome is hung from the bottom, completing the spherical shape. The ring and trusses form a table-like structure which separates the upper dome from the lower. Supported by and about three feet off of the structural domes is a cladding sphere to which the shiny Alucobond panels and drainage system are mounted.

The cladding was designed so that when it rains, no water pours off the sides onto the ground. All water is collected through one-inch gaps in the facets into a gutter system, and finally channeled into the World Showcase Lagoon.

Construction took 26 months. Extending upwards from the table are "quadropod" structures, which support smaller beams which form the shell of the steel skeleton. Pipes stand the aluminum skin panels away from the skeleton and provide space for utilities. A small service car is parked in the interstitial space between the structural and cladding surfaces, and can carry a prone technician down the sides to access repair locations. The shop fabrication of the steel (done in nearby Tampa, Florida) was an early instance of computer-aided drafting and materials processing. Spaceship Earth was originally sponsored by the Bell System from 1982 until 1984, when it was broken into smaller companies in 1984, and its parent company, AT&T, became an independent company. AT&T sponsored Spaceship Earth from 1984 until 2004. From 2005 onwards, the German company Siemens has been the sponsor of Spaceship Earth.

In October 1982, the attraction experience began as the ride vehicles moved up into the structure through a lighted tunnel enhanced by a fog machine, and then ascended on a spiraling track up through dark spaces featuring a series of lighted historic vignettes. The attraction featured actor Lawrence Dobkin as the narrator along with a very simple and quiet orchestral composition throughout the attraction. The theme of communication through the ages is presented in chronological order in settings peopled with Audio-Animatronics figures. Actors are seen (and heard quietly) declaiming in a Greek theater. Charioteers carry messages from a Roman court, and Jewish and Islamic scholars discuss texts. With typical Disney whimsy, a monk is seen having fallen asleep on a manuscript he was inscribing. Michelangelo, overhead, paints the ceiling of the Sistine chapel, and Gutenberg mans his printing press. Suggesting the rush of 20th-century technology, subsequent scenes meld together, overlapping each other as the circumference of the ride track narrows. A newsboy hawks papers, a movie marquee and film clips represent motion pictures, and radio and television are represented. As the vehicles reach the large space at the apex of the ride system, guests see, on the planetarium ceiling of the sphere, projections of stars, planets, the Milky Way, and, closest and largest, "spaceship earth." The Omnimover vehicles then revolve 180 degrees, so that the passengers lie backward facing the "sky" as they begin their descent on a relatively straight track. The ride stops intermittently as wheelchairs are loaded or unloaded.

Spaceship Earth in 2009.

In May 1986, the attraction was given a slight remodel. This second version of the attraction started off with the lighted tunnel enhanced by twinkling lights, meant to depict stars, with the fog machine removed. News journalist Walter Cronkite was the new narrator, reading from an updated script. A theme song called Tomorrow's Child was composed for the ending of the attraction, which was redesigned with projected images of children on screens to help fit with the theme of "Tomorrow's Child".

On August 15, 1994, the attraction was closed to receive a major remodel. This third version of the attraction kept the lighted tunnel as it was in 1986, and maintained the majority of the scenes depicted in the beginning and middle of the attraction. Three scenes toward the end of the attraction that showed a computer in a boy's bedroom of the 1980s, a woman's office of the 1980s, and a network operations center of the 1990s, were all removed and replaced with one scene depicting a boy and girl using the Internet to communicate between America and Asia. Actor Jeremy Irons was the new narrator, reading from an updated script. A new orchestral composition was composed for the beginning, middle, and end of the attraction. The ending itself was completely redone, with the removal of the Space Station scene located in the attraction's planetarium (the astronauts from the scene subsequently turned up in Space Mountain's post-show, where they were used until 2009), replacement of an old projected image of Earth in the planetarium with a new image, and replacement of the 1982 and 1986 ending scenes of the ride with miniature architectural settings connected by color-changing fiber optic cables and arrays of blinking lights representing electronic communication pathways. The attraction re-opened on November 23, 1994.

Spaceship Earth at night.

In celebration of the year 2000, a large 25-story "magic wand" held by a representation of Mickey Mouse's hand was built next to the sphere. Inspiration for it came from the Sorcerer's Apprentice sequence of Fantasia (although Mickey did not actually use a magic wand in that sequence). At the top of the structure was a large cut-out of the number 2000. While the structure wasn't intended to be permanent, it was constructed to have a lifetime of about 10 years. After the Millennium Celebration ended, the structure was left standing. In 2001, the number 2000 was replaced with the word "Epcot" in a script font that differs from the park's logotype.

On the morning of July 5, 2007, Epcot Vice President Jim MacPhee announced that Spaceship Earth would be restored to its original appearance, and that the "magic wand" structure would be removed in time for the park's 25th anniversary on October 1, 2007. Siemens AG, the new sponsor of Spaceship Earth, was rumored to have requested the wand removed as it did not fit their corporate image. The attraction was closed on July 9, 2007, and by October 1 the wand structure, the stars and the star supports were gone, replaced by palm trees and other plants. Components of the structure were later auctioned on eBay.[citation needed]

The "magic wand" being removed in August 2007

The closure also saw the ride's fourth update, which included new scenes and modifications to existing scenes; some new costumes, lighting, and props; a new musical score by Bruce Broughton; new narration by Judi Dench;[8] and a new interactive ending. New scenes showed a Greek classroom, mainframe computers and the creation of the personal computer.[9] The attraction opened for "soft launch" previews starting in December 2007. After some last-minute adjustments in January, the ride had its official re-opening on February 15, 2008.

The "time machine" vehicles now have an interactive screen where riders can choose their vision of the future.[10] This resembles a similar idea to the now-defunct Horizons attraction. At the beginning of the ride, a camera takes riders' pictures (using facial recognition technology) which are used at the end of the ride to conduct an interactive experience about the future of technology, featuring the riders' faces on animated characters with narration by Cam Clarke. Visitors are now also asked where in our Spaceship Earth they live; this is used in the post-show area where a map of the world is displayed with the riders' faces shown where they live.

As the ride is built on an omnimover system, there are no triggered ride events. Rather, a narration plays as the show scenes and music run on loop. The script, originally penned by Ray Bradbury, has since been updated to meet contemporary technological trends. The current host is Judi Dench, who narrates along an orchestral score by Bruce Broughton.

Audio-animatronic cavemen in the first scene of the ride. The scene has since been updated with new figures and an animated background.

The ride begins with the time-machine vehicles ascending into a dark tunnel with twinkling stars all around. An adventurous orchestral theme starts to play. As the score shifts to the theme ostinato, a leitmotif that comes to represent digital interference, guests have their picture taken which, unknown to the riders, will be used later in the ride and in the post-show.

As the vehicle arrives at the first story of the structure, it begins a slow curve. A large film screen is stretched along the inside of the sphere, depicting neanderthals fighting for survival without a form of communication and language. As the screen dims behind them, guests enter a cavern populated by audio animatronic early humans, who represent the development of early language through cave paintings. The drawings on the walls come to life and begin to dance as the car continues onward.

The score modulates, presenting the theme in a phrygian mode, implying a middle eastern atmosphere. Guests are brought through a heated diorama of the Egyptians, who invented a system of portable communication using hieroglyphs recorded on papyrus, as opposed to cave paintings that were unable to be transported as humans migrated. Migration is depicted, when the arid desert shifts to a salty and breezy ocean, as Phoenician merchants are seen carrying goods to faraway lands. The narration explains how their civilization was the driving force behind the alphabet, and due to their vast trading network, it became standardized in order to facilitate economic endeavors. Turning a corner, riders see the ship docking at an ancient Grecian port, in a sequence that attempts to show how language helped the arts thrive. A Greek man ushers the car past lively scenes of cultural diversity including the erection of the Parthenon, a performance of Oedipus Rex and a small musical ensemble. Shifting to ancient Rome, language is portrayed literally as a tool for cultural unification with the vast network of roads that stretched across Europe, ultimately "all leading to Rome."

The Phoenicians animatronics in an early scene from the ride discussing how our modern alphabet evolved.

Suddenly, the scene takes a dark turn as crashes are heard and the smell of burnt wood fills the air. The fall of Rome by invading mercenary armies also brought the destruction of the bulk of the world's recorded knowledge, including the loss of scrolls at the Library of Alexandria. But the narration gives hope as the vehicle reaches the next level, where Jewish and Islamic scholars of the Middle Ages are seen preserving recorded information, and continuing to progress in science.

Winding through exotic fabrics and drapery, guests arrive at a monastery where biblical manuscripts are being painstakingly copied. The composition shifts to a rousing hallelujah chorus, sung to the melody of the piece's exposition. Gutenberg is seen working the first movable-type printing press, allowing information to travel freely across the globe. The European Renaissance is portrayed, with animatronics of ensembles playing rich, polyphonicsecular motets, maypole dancing and the painting of a portrait of a woman. The scene ends as the car passes under a scaffold, where Michelangelo is seen painting the ceiling of the Sistine Chapel.

The time machines transition to a post-Civil WarNorth. Guests witness syndicated news reports illuminating the planet of current events with amazing efficiency. Loud, industrial-sized printing presses show the incredible influence of the machine as an advancement in mass communication. As guests pass the clanging sounds of the press, the score's theme is presented again, this time with an uptempo ragtime piano. Seen next is a romanticized version of the 20th century communications revolution—after passing telegraphs, radio, telephones, and movies, riders see the 1969 television broadcast of Apollo 11 landing on the moon, featuring Walter Cronkite. Language had progressed to such an extent that it no longer was spoken solely by humans, but by machines as well.

Guests turn a corner and find themselves in a large mainframe computer as they ascend up the final hill. At the top, a slow descent starts, progressing through a garage in California, where a man[9] is seen building one of the first home computers. The score becomes suddenly percussive and dramatic as guests fly through a tunnel with computer code projected onto the walls. At a crescendo, the car makes its final turn into the cupola of Spaceship Earth. The top of the structure is, in fact, a planetarium studded with stars and a large projection of a rotating Earth. Before the omnimover vehicles start to move down the long descent to the unloading area, they rotate 180 degrees clockwise and guests ride the end of the attraction backwards.

The remainder of the ride moves past a seemingly infinite number of stars and into a realm of glowing triangles. The guests can then use the touch-screens in their Omnimover vehicle to fill out a questionnaire to create a possible depiction of their future, which uses the pictures taken at the beginning of the ride.

Siemens then invites guests to visit Project Tomorrow as they exit the ride cars.

The original post show for Spaceship Earth was called Earth Station. It lasted from 1982 until 1994. It was a wide open exhibit space that included:

EPCOT Center Guest Relations

Seven large rear projector screens mounted on the walls of the exhibit space toward the ceiling that displayed visual previews of various EPCOT Center attractions.

WorldKey Information: Interactive kiosks that offered previews of various EPCOT Center attractions. Guests could also talk to a live cast member via two-way closed-circuit video, or make a restaurant reservation while in the park.

When AT&T renewed their sponsorship in 1994, they redesigned the exhibit space for Earth Station into the Global Neighborhood. The original Global Neighborhood lasted from 1994 until 1999. In 1999, the exhibit space was updated to become the New Global Neighborhood for the Millennium Celebration. The exhibit space closed in 2004 after AT&T left as sponsor.

AT&T's departure as sponsor in 2004 caused the exhibit to close. Siemens AG, the new sponsor of Spaceship Earth, having signed on in 2005, created a new exhibit space called Project Tomorrow: Inventing the Wonders of the Future. The new exhibit space once again uses the entire exhibit space that only Earth Station had once used. The new exhibit space houses interactive exhibits featuring various Siemens AG technology. These interactive displays and games allow guests to see the future of medicine, transportation and energy management. The space opened with two games, with two new games added in December 2007 and January 2008.

Project Tomorrow current attractions are:

An illuminated globe that shows the hometown of all Spaceship Earth visitors for the day.

Body Builder – a 3-D game that challenges guests to reconstruct a human body. Features the voice of Wallace Shawn as Dr. Bones.

Super Driver – a driving simulation video game featuring vehicle accident and avoidance systems. It simulates what is supposed to be the future of driving. You drive a "smart-car" and try to stop the city from being destroyed.

Power City – a large, digital "shuffleboard-style" game that has guest racing around the board to power their city.

A VIP lounge, operated by the pavilion sponsor, exists above the post-show area of Spaceship Earth. Employees of the current sponsoring company and their guests can relax in the lounge while visiting Epcot. The sponsor can also hold receptions in the space as well as conduct workshops and business presentations. When Spaceship Earth was without sponsorship from 2004–2005, the room was utilized for private events such as weddings and conventions.[citation needed] The layout is small and curved in shape, with one wall consisting of large windows where visitors can look out onto the park.

When Siemens AG took over as sponsors, the lounge was given the name "Base21".[17] In 2012, the name was dropped and it is now simply known as the "Siemens VIP Center."

^Mesic, Penelope (January 1999). "Cosmic Ray". Ray Bradbury. Retrieved 13 August 2006. He also serves as a consultant, having collaborated, for example, in the design of a pavilion at EPCOT Center at Walt Disney World.